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Thursday, November 15, 2018

The results of the Great American Read are based on a survey in which 7,200 “demographically and statistically representative” people participated by naming their favorite novel. Number one is To Kill a Mockingbird.

One of the 100 novels I read at the time of its original publication (1997), Memoirs of a Geisha by Arthur Golden, made the list at #45. Especially worthy of discussion today because of the ongoing controversy about cultural appropriation, Golden wrote from a female’s point of view, a Japanese woman’s life before and during her experience as a renowned geisha in Kyoto circa World War II. The story begins:

Suppose that you and I were sitting in a quiet room overlooking a garden, chatting and sipping at our cups of green tea while we talked about something that had happened a long while ago, and I said to you, “That afternoon when I met so-and-so…was the very best afternoon of my life, and also the very worst afternoon.”

Arthur Golden was born in 1956 in Tennessee. According to the Penguin Random House bio, Golden “was educated at Harvard College, where he received a degree in art history, specializing in Japanese art. In 1980 he earned an M.A. in Japanese history from Columbia University.” He also worked in Tokyo. The research for Memoirs of a Geisha included interviews with Mineko Iwasaki, a retired geisha, who later sued Golden for misrepresenting her experience.

When I read the bestselling novel in the late 90s, I loved the story and the characters. I remember thinking at the time that this male novelist had bravely taken on the challenge of telling a woman’s story from a time in history he had not experienced, from a country in which he’d spent only a brief amount of time, and about a culture he could never fully understand. Nevertheless, I knew it was fiction and, from the acknowledgements, was confident it was well-researched. At the time, nothing else mattered.

What a difference a couple of decades can make. Today, cultural appropriation restraints are placed on writers, actors, artists, and filmmakers as well as children in Halloween costumes and adult fashions. Are there rules that must be followed? Does anyone know?

In a 1999 interview for CNN Book News, Miles O’Brien asked Golden, “What's it like, sitting there at the computer keyboard, trying -- as a white male, trying to put yourself into that skin?”

Golden responded, “You know, I think that it's pretty much like writing anything else in fiction, in the sense that even if you sit down and try to imagine a story about somebody who lives on a street you've never seen, you really can't escape the hard work of just bridging this divide between you and an imagined other.”

Fast forward to 2017 when Keith Cronin writes In Which a White Guy Talks on Cultural Appropriation on the Writer Unboxed blog, Although focused mainly on the opinions others have expressed, Cronin seems to lean slightly toward the political correctness point of view. He seems apologetic about tackling topics outside his personal experience…but he does it anyway.

In Cultural Appropriation in Books for Young People, a 2016 post written for We Speak Japanese and English, a blog of an American mom in Japan, the author discusses her years of experience in the country and culture and whether she as a white woman can include Japanese characters in her books for children.

In another 2016 article, What Do Writers Have a Right to Write? for Publishers Weekly, Dan Blum dares to defend a writer’s right to experiment and exercise the full range of imagination. Blum says, “… a novel is an act of empathy. It requires getting into the minds and motivations, the joys and heartaches, of people outside of ourselves. If that empathy extends to another culture, shouldn’t this be admired and appreciated—even if the result is imperfect? Isn’t the ability to imagine what the world would look like from someone else’s perspective essential to being a writer?”

Each of the above articles mentions Golden’s Memoirs of a Geisha.

Cultural appropriation discussions will continue for some time, I’m sure. But if a white male author is only permitted to write novels from a white male’s point of view and from personal experience…what use is imagination? Authors might as well be restricted to writing memoir.

Pat (Patricia) Stoltey is the author of four novels published by Five Star/Cengage: two amateur sleuth, one thriller that was a finalist for a Colorado Book Award in 2015, and the historical mystery Wishing Caswell Dead (December 20, 2017), a finalist for the 2018 Colorado Book Awards.Pat lives in Northern Colorado with her husband Bill, Scottish Terrier Sassy (aka Doggity), and brown tabby Katie (aka Kitty Cat).

Tuesday, November 13, 2018

My take on Little Women may not coincide with that of the critics who speculate on its representation of the time in which the story is set. Nor do they necessarily address the author's feelings and perspectives, which may not have been accurately reflected in the story. Dubbed as formulaic by some and criticized for various shortcomings by others, the tale nonetheless brings a variety of gifts to any reader who chooses to ignore outside opinions and allows it to speak to her (or him) based solely on that reader's own feelings and history.

The March sisters provide a thought-provoking study in contrasts. The oldest and most motherly of the girls, Meg, dreams of marrying money to escape the poverty into which her family has fallen. Typically—but with occasional lapses—she behaves appropriately for the time in which she lives. Her dreams of wealth dissipate when she marries a bookkeeper, and her life settles into one of modest living and ultimate motherhood. She accepts her role as wife and mother and no longer (at least outwardly) wishes for money and a more luxurious lifestyle.

Jo is the family rebel. The least feminine of the sisters, she lounges on the floor (considered quite unladylike in her day), expresses her frustrations via temper tantrums, and indulges in impulsive behavior considered inappropriate for a young woman. Intense and outspokenly honest, she envisions herself as a writer whose numerous sales bring desperately needed funds to the empty family coffers. Still struggling to be as successful as she desires in the predominantly male field, she later acquiesces to the counsel from her German instructor, Professor Bhaer, about stories with a moral and writes a poignant piece from the depths of her heart about the death of her dear Beth. As for falling in love, that is not a priority on her to-do list. Yet it comes to her in the form of an older man (Bhaer), a strong supporter of her desire to be a successful author.

The shy and retiring Beth cannot envision herself as a functional adult. Sweet, caring, and satisfied with domestic chores, she lacks motivation to change her status and displays few personality traits that make her stand out or up to her more vocal sisters. Still, she is a family favorite, fiercely protected by Jo, and an unlikely recipient of favor by the next door neighbor, whose young granddaughter, similar in personality to Beth, had died in her youth.

Spoiled and selfish, youngest sister Amy March sets her sites on a life of luxury and plenty. Learning to temper her negative traits and display more fellow feeling as she grows up, she still seeks friendships and association with moneyed young people and those who live the life to which she longs to become accustomed. While on the hunt for a husband who will give her the things she wants, she instead and without intent falls in love with Theodore (Laurie) Laurence, grandson and heir of wealthy next door neighbor Mr. Laurence. In the end, she gains both love and the lifestyle money can buy.

Are any of Ms. Alcott's characters relevant now? If brought into our time and viewed objectively, the March sisters represent a surprisingly similar cross section of women today. Like Jo, for example, many work in a system that still favors men when it comes to jobs and pay. The strong-willed Amy, who her husband admits to following, ran the show as a young girl and continues to do so in her marriage. Meg represents those who truly want to be homebodies, to have a family and to care for them 24/7. Unfortunately, many of today's mothers—single ones in particular—are not given a choice. They may be the sole (or at least primary) financial provider for their households. Whether they like it or not, the nine-to-five life (and too often second job) may demand their time and indeed their lives.

On a personal note, especially as a writer, I relate most to Jo. The advents of the small press, self-publishing, and electronic media offer me possibilities she never had, but I understand her drive to be a successful author. The importance of hooking the reader emotionally at the beginning of a story was one of the reasons I updated my first novel, so I learned the same lesson Jo learned—thanks to the patient nudging of my critique partner. Now, early on, it clearly reflects the heartfelt struggle of my primary protagonist to put her shattered life back together. Also, like Jo, I don't always see eye to eye with others, but instead travel a path chosen by the few rather than the many. How about you? Do you relate any of the March sisters? Do you believe our lives have changed significantly in the nearly century-and-a-half since the book was written?

Note: The second link below, chapter 40 of Little Women, is a beautifully written expression of the heart, a great example for all of us when writing scenes intended to touch the hearts of our readers.

Editor Linda Lane has returned to her first love—writing—while maintaining her editing work. Her novels fall into the literary category because they are character driven rather than plot driven, but their quick pace reminds the reader of genre fiction. They also contain elements of romance, mystery, and romance. You can contact her at websites: LSLaneBooks.com and DenverEditor.com.

Saturday, November 10, 2018

Veterans Day is celebrated on November 12 (the actual date being November 11), but why limit thinking about and honoring our veterans on just a single day? And how about reading a book (or two) that would help us learn more about and appreciate the men and women who have served and are serving their country?

The following lists offer some possibilities for you to consider. I'll start with mystery-related reads, since mysteries are "my thing":

Mystery Fanfare by Janet Rudolph salutes Veterans Day mysteries in this post, mentioning Jacqueline Winspear's series with protagonist Maise Dobbs (a World War I nurse veteran), as well as Charles Todd's two series featuring Inspector Ian Rutledge (post-World War I) and battlefield nurse Bess Crawford (World War I). You can read more of her suggestions here.

A 2007 In Reference to Murderpost by BV Lawson highlighting mystery series for Veterans Day includes the series by John D. MacDonald featuring Travis McGee, a Korean War veteran; Craig Johnson's series with protagonist Walt Longmire, a veteran Marine Investigator from the Vietnam War era; and Owen Parry's U.S. Civil War series with protagonist Abel Jones, a federal agent. Check it out for more recommendations, listed by historical era.

Mysteries in Paradise also has a long list of individual books for Remembrance Day/Armistice Day (honoring the end of World War I, which occurred 100 years ago on November 11, 1918).

For me, the quintessential Veterans Day read is THE RED BADGE OF COURAGE by Stephen Crane (which I just found for Kindle for free right here).

I'll just add that my own Silver Rush series, set primarily in the year 1880, includes a number of veterans and other characters who continue to be deeply affected by the U.S. Civil War, even though it is 15 years in the past.

If you have any books to recommend that feature and/or honor veterans, we'd love to hear about them. Meanwhile, I plan to dive into Stephen Crane's novel and see if it's as good as I remember...

Ann Parker authors the award-winning Silver Rush historical mystery series published by Poisoned Pen Press. During the day, she wrangles words for a living as a science editor/writer and marketing communications specialist (which is basically a fancy term for "editor/writer"). Her midnight hours are devoted to scribbling fiction. Visit AnnParker.net for more information.

Thursday, November 8, 2018

Back in the mid to late 1980s I was a security guard. The pay was lousy, but it gave me many hours in seclusion to write short stories and novels. However, I usually worked over 80 hours a week. No one can write that much. Well, at least not me. Thus I discovered the joys of my local libraries.

Recently, I decided to look up an author who gave me great pleasure in those days. Most of his books are now out of print, I've learned, even the one that became a movie.

I found that two of his were books available, so I ordered them. One I'd enjoyed before. The other was a straight thriller from the days before he created the "Appleton Porter" spy spoofs, re-released in 2001 in POD. I didn't know this before it arrived at my home in China.

Since I'm giving away THE plot spoiler, I won't identify the author or title.

A man who deeply loves his wife buys her a hotel outside London. She is very happy there, at first. This is a fine suspenseful read as she notes oddities and eventually appears to be losing her mind and such. Suicides, an eventual murder. Finally, her husband pays a doctor to kill her.

The husband arranged all this, we learn at the end, because she was dying of a horrible and incurable illness. Rather than let her suffer the indignity, he tries to give her some final days filled with wonderful memories. He never realizes that he ended her days with a living hell.

The writing was fine, aside from some stupid typos of the sort common in unedited POD titles. He's obviously a sincere, hard-working, talented author. The plot was wholly consistent and everything "worked."

So why is it a weak book? Because the plot I described is all there is.

It's a one-plot wonder.

As an author, if you find yourself floundering, if you find your work-in-progress failing to make progress, ask yourself: Is it a one-plot wonder?

Here are some best sellers I've read over the past thirty years.

During the Cold War, a Soviet commander steals a top-secret submarine and tries to defect to the US with it. A good and idealistic young law graduate accepts a job too good to be true, only to eventually learn he's working for the Mafia. An alcoholic ex-author and his family become caretakers at an old Maine hotel, alone during the winter, and he eventually goes nuts. A US President declares war on drug dealers, a "clear and present danger" to national security. A crippled author is kidnapped by the ultimate fan.

I choose these titles because all were made into movies I've seen. None of my plot summaries are wrong. But with some of those novels, there are many more plots and subplots at work. These are the novels that didn't always translate well to the big screen due to time constraints and/or loss of non-objective voice.

I love a well-conceived "what if" scenario, and none of these books lack that. But more importantly, I love a novel that's rich with the fabric of life. That's where multiple plots come into play. Very rarely will a movie capture this as well as a novel can.

A one-plot wonder is a boring read. It's a boring write. It's not realistic. And, it's a hard sell. All your eggs are in one basket. If the editor isn't enthralled with that sole plot, you aren't published. If the reviewer isn't enthralled with that sole plot, he pans you. If the potential reader isn't enthralled with that sole plot, he doesn't buy your book. Or if he does, maybe you don't get any repeat business from him. You don't get mine.

Plus, we should be setting the bar a bit higher for ourselves anyway. We entertain, but we also enlighten and educate. Or at the very least, provide needed escape. But it's hard to escape to a one-plot wonder. I keep taking coffee breaks between chapters.

I single out no writing medium with this. All are guilty. Come on, Terminator 2 has more subplots than many successful books these days. And it's not just "these days," incidentally. The title I reviewed early in this article is from 1979. Published, successful, well-written, flat.

Craftsmanship is fine. Craftsmanship is wonderful to behold. Craftsmanship is a necessity. But, it's not enough.

Do you want to build a horse barn that never leaks or do you want to build a two-story A-frame home that survives five hurricanes undamaged? My carpenter did the latter and I can't do the former. But if I had the ability to build a leak-proof barn, I certainly wouldn't limit myself to barns. I'd try to build houses.

I'm not talking about weighty tomes. Times change, readers change, and most people don't read them any more. What was once considered gripping is now considered boring.

But one-plot wonders also bore readers. They read it, enjoy it moderately, then go look for something else to do. There's little satisfaction at the end. Rarely the big "wow" that probably made you start writing in the first place.

I'm talking about shooting for five stars instead of two or three. I'm talking about richness of story, raising the standard, writing your absolute best instead of settling for adequate.

I risk oversimplification here, but I'm seeing far too many one-plot wonders. People are buying them, too. But it's time for us, the authors, to quit writing them.

Michael LaRocca has been paid to edit since 1991 and still loves it, which has made people question his sanity (but they were doing that before he started editing). Michael got serious about writing in 1978. Although he’s retired more times than Brett Favre, Michael is writing his 19th book. Learn more about him at MichaelEdits.com, GoodReads, or Amazon.

Tuesday, November 6, 2018

Whether a one day session, one week conference, or a month-long writing workshop writing related events are a good way to commune with other writers. They offer opportunities to network and get your name out there. In some instances, you can meet and mingle with editors and agents. Some offer critiques or pitching sessions. Nowhere will you find a higher concentration of introverts enjoying each other's company.

Local conferences are a good place to meet potential critique groups or recruit members.

Some are free. Some require a fee. Some are more social than others. Many are for new writers, but a few dig deep into craft. You should choose an event that speaks to your needs and desires.

The following is a list of conferences that require early registration or application.

Realm MakersConference is Thursday afternoon through Saturday, July 18-20, 2019, at the Sheraton Westport Chalet, St. Louis Missouri. Registration begins February 2019.http://realmmakers.net/conference

Thursday, November 1, 2018

Over the years I have worked as an editor, I’ve encountered many authors too terrified to hire an editor because they previously suffered through a truly awful editing experience. As a writer, I survived a few of those myself, so I know firsthand how upsetting a bad edit can be. Bad editors create new problems in manuscripts and often do nothing to resolve existing issues that beg for improvement.

I am often asked how authors can tell a good editor from a bad editor. There’s no guaranteed way to do this, but I can offer a few suggestions that might help authors find an editor who will not only do a great job but will also be a good fit for their personality and writing style. Keep in mind I am speaking of developmental editing in this column, not just a copyedit that corrects typos and grammatical errors.

Look for an editor who offers to edit your first ten pages free of charge

Almost every confident professional developmental editor is more than happy to edit 10 pages free to give potential clients an idea of their editing style. As authors review their sample edits, they will soon learn if the editor is a good fit for their book. A great editor suggests beneficial changes that will improve a manuscript and make it more marketable and more appealing to readers. A bad editor rewrites the author’s manuscript, often scrambling the storyline and drowning out the author’s voice in the process.

If your 10 pages have been rewritten rather than edited, I suggest moving on to another editor, because the one you tried is not actually an editor but rather a frustrated writer whose only outlet for their dreams is plowing destructively through other people’s work. You deserve much more than that for your editing investment. Hire someone whose sample edit shows insight into what you were trying to accomplish with your novel, and whose suggestions improve your story and resolve problems that detract from its cohesiveness.

Find an editor who is constructively critical and honest

How your editor expresses suggested changes matters—a lot. If your ten pages are full of scathing criticism with few constructive suggestions to improve or amend problem passages, then you will not get much value from the edit. Worse, you could end up with something quite harmful…a ticking time bomb planted in the center of your most delicate commodity‑your self-confidence.

There is no room in editing for mean-spirited critiques. Authors must work up a great deal of courage before submitting themselves and their work to the editing process, and it is all too easy for an unkind editor to undo that courage with thoughtless and cutting remarks that serve no valid purpose.

You should also skip an editor whose edit is all sunshine and glitter bombs. Some editors shower authors with effusive praise in an effort to “land the job”. Be wary of this. An honest editor will point out both the good and the bad in your manuscript, and not feel compelled to tell you that you are the greatest writer in the history of the world.

A good edit should also lift up an author and encourage her (or him) to dive right back into their work with renewed enthusiasm and confidence that they can weave in the suggested changes to produce a better book. Bad edits do the opposite; they rob authors of confidence and make them feel like giving up.

If your sample edit either makes you feel like you just walked into a cloud of magic unicorn dust or would be better off throwing yourself in front of a train, move on.

Ask for recommendations from fellow writers

Ask your friends who write which editors they’ve enjoyed working with. Editors often specialize in one or more genres, so before you query, do a bit of research to make sure they’re experienced in editing for your genre. For example, you wouldn’t want a horror editor reviewing a romance. With their tastes and sensibilities so wildly divergent from those of a romance editor, you might end up with a zombie cat in the middle of an otherwise perfectly sensible romance, which would kind of ruin the mood.

Finally, attend writer’s conferences. Not only will you learn a lot about your craft, but you’ll meet other writers and make great new friends. And best of all, you might just discover the perfect editor for your book.

Patricia B. Smith is a journalist who is the author of 11 published books, including Idiot’s Guide: Flipping Houses, Alzheimer's For Dummies and Sleep Disorders for Dummies.

Pat is also an experienced professional developmental editor who serves as an Editorial Evaluation and Developmental Coordinator for Five Star Publishing. She works with private clients as well and has helped many authors land their first publishing contracts. Many of her clients have achieved notable success, including two winners of the Missouri Writers’ Guild Show-me Best Book of the Year Award.

Tuesday, October 30, 2018

It’s October— the nights are getting longer and colder, and thoughts turn to ghosts, pumpkins (pies or Jack-o-Lanterns or headless horsemen), and the great beyond. If you are looking for a season-appropriate book to snuggle up with on Halloween, keep reading for places to start your exploration.

Online mystery lists are a great place to find Halloween-themed stories, from the cozy end of the spectrum to the dark and devious:

Head over to the not-entirely-cozy Cozy Mystery List to find Halloween-themed mysteries to fit your mood, from BEDEVILED EGGS by Laura Childs and VAMPIRES, BONES, AND TREACLE SCONES by Kaitlyn Dunnett, to THE WITCHFINDER by Loren D. Estleman and TRICKS (87th PRECINCT) by Ed McBain.

Speaking of Halloween books for the younger set, Working Mother weighs in with “20 Halloween Books for Kids That Are Scary and Fun.” I have to admit that STUMPKIN by Lucy Ruth Cummins (“a story about acceptance and a reminder to children that everyone belongs somewhere”) and GO TO SLEEP, LITTLE CREEP by David Quinn (“a holiday inspired story for children who always ask for five more minutes before bedtime”) caught my attention. If only my children were younger…

Decorations = done! Now, what to read???

If the above is not enough, you can turn to the article “120 Books to Read for Halloween” in BookBub. The recommendations run the gamut from ghost stories to thrillers to true crime.

I'll add my two cents here, and say that THE LEGEND OF SLEEPY HOLLOW by Washington Irving (who is credited with being the first “professional writer” in the United States) falls into my oldies-but-goodies category. While noodling around on the internet, I found an interesting analysis of the tale on enotes.com, suggesting that the character Ichabod Crane embodies “Manifest Destiny.” Hmmmm. You can read all about it here.

Faster, Ichabod, faster! (The Headless Horseman Pursuing Ichabod Crane by John Quidor (1801–1885)
Smithsonian American Art Museum, Museum purchase made possible in part
by the Catherine Walden Myer Endowment, the Julia D. Strong Endowment,
and the Director's Discretionary Fund.)

Your turn. Do you have any favorite reads for this time of year? Let us know!

Ann Parker authors the award-winning Silver Rush historical mystery series published by Poisoned Pen Press. During the day, she wrangles words for a living as a science editor/writer and marketing communications specialist (which is basically a fancy term for "editor/writer"). Her midnight hours are devoted to scribbling fiction. Visit AnnParker.net for more information.